SALT LAKE CITY — Broadway at the Eccles delivers exactly what the Utah premiere of A Beautiful Noise: A Neil Diamond Musical promises: a celebration of one of America’s most iconic performers. I would consider myself a casual Neil Diamond fan. I grew up knowing and really liking some of his songs and watched The Jazz Singer at some point, but I’ve never been an avid connoisseur of his work. So, I was unsure what this show would offer, but open and excited to see it on opening night. While the musical’s book by Anthony McCarten does not dig particularly deep, the sheer power of the performances, music, and design more than compensates. Directed by Michael Mayer, this is a show that understands its purpose. You don’t come to A Beautiful Noise searching for layered philosophical revelations or dramatic character arcs—you come to be swept up by unforgettable songs, electric stage presence, and the communal joy of a Neil Diamond concert brought to life onstage.
At the heart of this show is Nick Fradiani, who plays Neil Diamond in his younger years (“Neil-Then”). Fradiani’s performance doesn’t just imitate Neil Diamond; it embodies him from the first moment you see Fradiani who sings with Diamond’s signature range and emotional power. Fradiani’s performance is full of authenticity and charisma, capturing the swagger and magnetic charm of Diamond’s live performances, while giving a raw and vulnerable feeling to the moments when Neil is “off stage” and struggling with bouts of anxiety or feelings of depression referred to as “clouds.” These moments humanize him, reminding the audience that success does not insulate one from internal struggle. Quite frankly, Fradiani’s performance alone is reason enough to buy a ticket and see the show.
If there is a weakness in A Beautiful Noise, it lies in the book by Anthony McCarten. The structure of the story starts after the grand overture plays and excites the audience, the curtain rises to reveal an elderly Neil-Now (Robert Westenberg) who quietly and awkwardly reflects on his life during therapy with his Doctor (Lisa Renee Pitts). The therapy framing device does give cohesion and a narrative through-line, but it isn’t particularly captivating on its own. Neil tells his Doctor that everything he had to say he put into his songs, which leads us to reliving those musical memories. This felt more functional than inspired, but it does generally work so this shortcoming is easily forgiven. The book does just enough to hold the songs together, and ultimately, this show is not driven by plot complexity. It’s driven by music—and the music absolutely delivers in spades. Director Michael Mayer keeps the pacing tight and the storytelling clear, guiding the audience smoothly through Neil’s life and career. Director Mayer demonstrates a strong sense of rhythm, allowing the high-energy numbers to soar while giving the quieter moments space to breathe.
Diamond’s story, conveyed through his music, really revolves around the women in his life. Tiffany Tatreau plays Jaye Posner, Neil’s first wife. Posner’s duet with Neil in “Love on the Rocks” is heartbreakingly beautiful, capturing the slow, painful unraveling of a marriage and family with devastating honesty, offering a reminder that behind the fame and flashing lights is a very human story of love, loss, and regret.
Breaking up that first marriage was Marcia Murphey, played by Mary Page Nance, the woman who would become his second wife. Neil and Marcia went on to be married for 25 years, so their relationship goes through many phases, and Nance portrays them all with a captivating grace. Nance’s rendition of “Forever in Blue Jeans” was nothing short of chilling in the best possible way. She is absolutely a triple threat with a powerhouse voice that can keep up with the demanding dance moves.
The whole ensemble cast deserves high praise for the richness they bring to Neil’s world, adding texture to each scene with phenomenal singing and dancing. Steven Hoggett’s choreography is a standout element of the production. Hoggett’s movement vocabulary nods to styles of the 1960s and 1970s while still feeling contemporary. The big numbers are bursting with energy and tight precision, but one of my favorite movement moments was during Neil’s first gig in a small coffee shop. As he sits on a stool with his guitar, the ensemble “audience” uses subtle movements like a single arm reach or a precise lean forward together. There was an electric sense of connection between performer and listener, transforming a simple moment into something deeply powerful as the audience visually expressed what it was like to watch Neil perform.
Visually, the production is stunning. Emilio Sosa’s costumes are a feast for the eyes, from the playful, era-specific looks of the ensemble to the carefully tracked evolution of Neil’s performance wardrobe from matte black shirt to the rhinestone-studded outfits of his stadium-filling years. All of those costumes pop under one of the best lighting designs I have ever seen. Kevin Adams’s lighting design was entrancing as it intuitively highlighted exactly what needs to be seen and felt in every moment. Because the show takes place largely inside Neil’s mind and therapy sessions, the design allows reality and memory to blur seamlessly. At one point, young Neil sits on the therapy couch as dancers seem to spring into existence from behind it, as if conjured by thought alone. A plethora of vintage chandeliers fly in and out above the stage to shift the feel of intimacy and grandeur and give contrast to the big city or stadium performance lighting.
Of all the women in Neil’s life, last but never least, is “Sweet Caroline.” The show depicts Neil writing his most famous song in a crappy hotel room under immense pressure. He remembers in therapy randomly pulling the name from a magazine and then finding the chords that would change his life. The performance of this iconic banger at the end of Act One, as well as during the encore at curtain, may be worth the price of admission all on its own. The lighting, staging, and Fradiani’s performance all combine to give the audience full permission to abandon traditional theater etiquette and sing out “Ba! Ba! Ba!” and become part of the story. The fourth wall dissolved, and the energy in the room was electric and unforgettable.
In the end, A Beautiful Noise knows exactly what it offers and fully embraces it as it gives the audience what they want and came to see: a tribute to Neil Diamond. With extraordinary performances, breathtaking design, and a catalog of songs that continue to resonate across generations, this production delivers a night that is “so good, so good, so good.”
Zions Bank & Broadway at the Eccles present A Beautiful Noise: The Neil Diamond Musical, playing at Delta Hall at the Eccles Theatre from January 20th-25th, 2025 at various times. Ticket prices vary from $65-$240. For more information, please visit their website: https://saltlakecity.broadway.com/.
